mikeh wrote:On "Falcone," it seems to me that it might be a shortened form of "Grifalcone," the Francesco Grifalcone of the FR.GR of the beginning of the "third selva" (http://www.gutenberg.org/files/35799/35 ... ELVA_TERZA). As I said at posting.php?mode=quote&f=11&p=10869, on http://www.treccani.it/enciclopedia/teo ... ografico)/ we learn that the humanist noble Francesco Grifalcone was Folengo's patron in Venice, a fitting person to direct a sonnet concerning the politics of Venice, France, Pope, Emperor, and Turks. It's also great name, combining as it does "griffin" and "falcon." (For some reason, when I click on that last link in Preview mode, "error" comes up. But if I paste the actual URL in my browser, it comes up fine.)

It's confusing, Huck, how you comment on "Baldus" in the other thread (on the "Caos"'s tarocchi sonnets ) and the tarocchi sonnets on this thread (on tarot reference in "Baldus"). I suppose that's inevitable, since we are using "Baldus" to clarify "Caos." But as a result, it's easy to miss things, because you have to search for what was said twice.

Huck wrote

Fo-Cilla might be an idea, cause somehow is Virgil as Mantovan poet in the background and he wrote about Aeneas, who also had a Trojan background. But Cilla is rather unknown, or?

Well, it depends on your milieu. Cilla sister of Hecuba, Wikipedia says, is referenced in the works of Lycophron--or maybe the comments on Lycophron by Tzetzes, I'm not sure (http://www.theoi.com/Text/LycophronAlexandra.html, http://www.theoi.com/Text/LycophronAlexandra1.html). It contains the alleged prophetic utterances of Cassandra, According to WorldCat, manuscripts of Lycophron go back to 1453. I suspect it is one of those brought over by Bessarion from Greece to Italy. Wikipedia says that Aldus published it in 1513 (http://en.wikipedia.org/wiki/Lycophron). That's in Venice. Lycrophon is said to have been famous for his obscure use of names--and so a kindred spirit to Folengo. But did Folengo know Greek? If not, he probably knew someone who did.

Lycrophon looks like he might be fun to read in translation. Well, the next time at the library, I'll check him out. The book might have more information on its availability, and the availability of the reference to Cilla, in 16th century Venice.

Huck wrote

With Giuberto we have a real person figure, which appeared in the history of Folengio's career.

I don't recall seeing that. Who was this real Giuberto?

Ah, that's fine with your research to Lycophron. First to Giuberto

Giuberto appears in the Triperuno in the Tarocchi poem context ... chapter 12 according my counting. Then Giuberto appears as Gilberto in the translation of Baldo (Mullegan), but in the original it is Giuberto.

Baldo, chapter 15





In my opinion Giuberto in the Triperuno is the first in the Trieruno and likely dominating. the other three name seems to be "attributes", starting with Falcone/Falchetto as dog-man, and Focilla and Mirtella "not explained for the moment" (I ignore your suggestion Grifalcone, cause we really don't know, what sort of reality or pseudonym this might be ... the Italian biography offers the Triperuno as "evidence", this seems to run in a circle. Grifalcone sounds indeed very near to Grifone and Falchetto is something very near to a Grifone.



But I found something other rather interesting.

The relevant passage for the 4 persons is:

Limerno. Dirottilo ispeditamente. Giá la signora non è cagione propria di questi: ma heri Giuberto e Focilla, Falcone e Mirtella mi condussero in una camera secretamente, ove, trovati ch'ebbeno le carte lusorie de trionfi, quelli a sorte fra loro si divisero; e vòlto a me, ciascuno di loro la sorte propria de li toccati trionfi mi espose, pregandomi che sopra quelli un sonetto gli componessi.

Triperuno. Assai piú duro soggetto potrebbevi sotto la sorte che sotto lo beneplacito del poeta accascare.

Limerno. E questa tua ragione qualche bona iscusazione appresso gli uomini intelligenti recarammi, se non cosí facili, come la natura del verso richiede, saranno. Ora vegnamo dunque primeramente a la ventura ovvero sorte di Giuberto; dopoi la quale, né piú né meno, voglioti lo sonetto di quella recitare, ove potrai diligentemente considerare tutti li detti trionfi, a ciascaduno sonetto singularmente sortiti, essere quattro fiate nominati sí come con lo aiuto de le maggiori figure si comprende:

Then follow the poems with short dialog-intermezzi. The single sonnets are titled with Tarocchi card names ... whoever made this, he sorted the names according the rank of one of the usual Tarocchi rows, in this case the Ferrarese order, as Giustizia appears before Angiolo. But in one case he either made an error, or he (Folengo ?) followed "a higher poetical intention": Diavolo is higher than Foco, in th Tarocchi row it's lower.

1. Giuberto: GIUSTIZIA (20), ANGIOLO (19), DIAVOLO (14), FOCO(15), AMORE (6); 20-19-14-15-6

2. Focilla: MONDO (21), STELLA(17), ROTA(10), FORTEZZA (9), TEMPERANZIA(), BAGATTELLA (1); 21-17-10-9-?-1

3. Falcone: LUNA (18), APPICCATO (12), PAPA (5), IMPERATORE (4), PAPESSA (2); 18-12-5-4-2

4. Mirtella: SOLE (19), MORTE (13), TEMPO (11), CARRO(), IMPERATRICE(3), MATTO (0); 19-13-11-?-3-0

Inside the sonnets itself, the different names appear, as it seems, in chaotic order, not related to the given titles, just following the internal interests of the poems.
Interesting is, that the first playing card title, which appears (Giuberto 1st line), is "Foco", just the one, which appears in the title as "an error" or "higher intention". It appears as "Foco d'Amore", and inside the poem it's of demonic character, at least attacked as such. And perhaps it should be also noted, that "Focilla" seems to be related to the word Foco ... at least it has some similiraty. .

Now the poet has promised before the start the following: "... a ciascaduno sonetto singularmente sortiti, essere quattro fiate nominati sí come con lo aiuto de le maggiori figure si comprende". Each name appears 4x in each sonnet ... is this true? ... I'll check this.

Giuberto

Quando 'l Foco d'Amor, che m'arde ognora,
penso e ripenso, fra me stesso i' dico:
— Angiol di Dio non è, ma lo nemico
che la Giustizia spinse del ciel fora.

Ed è pur chi qual Angiolo l'adora,
chiamando le sue fiamme «dolce intrico».
Ma nego ciò, ché di Giustizia amico
non mai fu chi in Demonio s'innamora.

Amor di donna è ardor d'un spirto nero,
lo cui viso se 'n gli occhi un Angiol pare,
non t'ingannar, ch'è fraude e non Giustizia.

Giustizia esser non puote, ove malizia
ripose de sue faci il crudo arciero,
per cui Satán Angiol di luce appare.

Then ..
Justice gets 4x Giustizia
Angel gets 4x Angiol
Devil gets Diablo, Demonio, Spirto nero, Satán
Tower gets Foco, Fiamme, ???? (inganno? fraude?), Faci

My comment to Folengo's statement, that indeed in each of the 4 parts of the sonnets all 5 mentioned Tarocchi cards appear ... although only "somehow". The names are partly given in variants.

*********************

Focelli

Questa fortuna al mondo è 'n Bagattella,
ch'or quinci altrui solleva, or quindi abbassa.
Non è Tempranzia in lei, però fracassa
la forza di chi nacque in prava Stella.

Sol una temperata forte e bella
donna, che di splendor le Stelle passa,
la instabil Rota tien umile e bassa;
e 'n gioco lei di galle al mondo appella.

Costei tempratamente sua Fortezza
usato ha sempre, tal che 'l Mondo e 'nsieme
la sorte de le Stelle a scherzo mena.

Ben può fortuna con sua leggerezza
ir ne le Stelle di più forze estreme:
chi sa temprarsi lei col Mondo affrena.

World gets 4x Mondo
Star gets 4x Stelle or Stella
Fortuna gets 2x Fortuna, 1x Rota, 1x Sorte
Strength gets Forza, Forte, Fortezza, Forze
Temperance gets Tempranzia, Temperata, Tempratamente, Temprarsi
Magician gets Bagatella, Gioco, Scherzo, Leggerezza

My comment: Indeed, again I find all Tarocchi cards in the 4 arts of the poem.

****************

Falcone

Europa mia, quando fia mai che l'una
parte di te, c'ha il turco traditore,
rinfràncati lo Papa o Imperatore,
mentre han le chiavi in man, per lor fortuna?

Aimè! la traditrice ed importuna
ripose in man di donna il summo onore ( Fortuna fatta Papessa. )
di Piero e tiene l'imperial furore
sol contra il giglio e non contra la Luna.

Che se 'l papa non fusse una Papessa
che per un piè Marcin sospeso tiene,
la Luna in griffo a l'aquila vedrei.

Ma questi papi o imperatori miei
fan si, che mia Papessa far si viene
la Luna, e vo' appiccarmi da me stessa.{/quote]

Moon gets 3x Luna and 1x l'una
Pope gets 3x papa (or papi) and 1x Piero
Emperor gets 2x Imperatore, 1x Imperial and 1x l'Aquila
Papessa (strange) is first Fortuna and then "Fortuna fatte Papessa" and then Papessa
The Hanging Man gets traditore, traditrice, then "per un piè Marcin sospeso tiene" and finally hangs himself ("appiccarmi da me stessa")

My comment: Somehow Folengo stayed in his system, but Fortuna (which already was used in the sonnet) appears as changed to Papessa. Small creative sidestep,from Folengo. I understand that.

******************

Mirtella

Simil pazzia non trovo sotto 'l Sole,
di chi a gioir del Tempo tempo aspetta:
Morte, su 'l Carro Imperatrice, affretta
mandar in polve nostra umana prole.

Al Sole in breve tempo le viole
col strame il villanel sul Carro assetta:
Matto chi teme la mortal saetta,
ch'anco l'Imperatrici uccider vole.

Però de' sciocchi avrai sul Carro imperio
s'indugi, donna, più mentre sei bella,
che 'l Sol d'ogni bellezza invecchia e more.

Godi, pazza! che attendi? godi 'l fiore!
fugge del Sol il Carro, e il cimiterio
la nera Imperatrice empir s'abbella.

My comment: And in the last of the 4 sonnets then the "Caos del Triperuno" .. some of the cards behave like in the three sonnets before, but others seem to be not complete, and then there appear cards names, which already had their manifestation in the other three sonnets, so for instance the Foco from sonnet 1, which I see here as "Saetta". Time appears as "tempo tempo" in one line, and the whole order is broken ... :- ... and Folengo has his fun, when anybody like me attempts to count in his system, if his earlier promise was really fulfilled.

And Folengo embarks: "Godi, pazza! che attendi? godi 'l fiore!", and talks then of a black empress in the graveyard. Hekuba was a sort of of Empress, wasn't she?

And Triperuno adds: "TRIPERUNO: This seems to me more satisfying than the others, oh my master. " ... .-) ... likely Triperuno hadn't counted.

This fourth sonnet is similar to the whole Triperuno ... I would assume. Folengo suggests orders how to explain, makes then some time, but disrupts from then, when he thinks, that he has done enough in this direction. Folengo prefers to be not really predictable.

Yes, good, although for me the references or allusions for the four names is still up in the air. Besides the possibilities discussed on this thread, see those discussed on the other thread, starting about viewtopic.php?f=11&t=759&start=20#p10925.

For non-Italian speakers who might be reading this: the English corresponding to the passages in Italian that Huck just cited is at http://www.tarotpedia.com/wiki/Caos_Del_Triperuno. Huck gave this link at the beginning of the other thread.

Huck wrote

(I ignore your suggestion Grifalcone, cause we really don't know, what sort of reality or pseudonym this might be ... the Italian biography offers the Triperuno as "evidence", this seems to run in a circle. Grifalcone sounds indeed very near to Grifone and Falchetto is something very near to a Grifone.

Well, "Falchetto" is rather far from "Falcone," further then "Grifalcone." For Francesco Grifalcone, I think a real person was intended, because just as FE.GO and CA.VR, whose initials grace the beginning of the first two "selvas" (http://www.gutenberg.org/files/35799/35 ... ELVA_PRIMA, http://www.gutenberg.org/files/35799/35 ... VA_SECONDA) were real persons (Federico Gonzaga and Camillo Orsino), so is the same intended for FR.GR.

That issue aside, here is another idea: "Falcone" is a metaphorical falcon, or bird of prey. Baldo Book XXIIII 620-621 has

ac velut undienlas falco secat ungue folengas,
sic Baldus miseram distemperat ense fameiam.

Mullaney's translation:

and as a falcon shreds water coots with its talons, so Baldo destroys these wretched servants with his sword.

The "servants" are some devotees of the queen of the witches, devils in the shape of human beings, Baldo judges.

Mullaney (p. 12 of https://docs.google.com/viewer?a=v&q=ca ... 3mc0dIeX5w) cites this passage without comment in an essay devoted to the sexual subtext in Folengo's work. What interests me is what these lines say about the name "Falcone." It is the name of a bird of prey to which "folengas," little waterfowl and people like Folengo, are particularly vulnerable. Since the poem concerns power politics and a lack of will against the Turks, such a powerful person (e.g. Grifalcone), a fierce warrior comparable to Baldo himself, is aptly named "Falcone."

mikeh wrote: That issue aside, here is another idea: "Falcone" is a metaphorical falcon, or bird of prey. Baldo Book XXIIII 620-621 has

ac velut undienlas falco secat ungue folengas,
sic Baldus miseram distemperat ense fameiam.

I agree, that this is (likely) also a part of Folengo's field of associations.

But: Folengo has a brother Francesco, and Mullaney herself has the suspicion, that also Francesco belongs to Folengo's inventions. Yes, Grifalcone appears as a honored person after Federico Gonzaga (real) and the condottiero Camillo Orsini (also real), but how can we be sure, that Folengo used this not as a legal field for his imaginations? If there are no other documents outside of the control of Folengo, who report the existence of brother Francesco or Francesco Grifalcone, this all has to be taken with some skepticism. Naturally a falcon is a brother of a falago ... both are birds.
Maybe one of Folengo's cloisters had a dog called occasionally Francesco and sometimes Falco? And when the dog occasionally had luck and captured a lazy folaga, he was honored with a comparison to the great grifone and got an extra bone for supper?
Isn't it Grifalcone who kills at the end of the chapter 13 ("Death", my counting) the small animal Galante? And it follows the title "Tumulus Galanthidis Mustellae" with the short chapter, in which a lot of speakers speaks important works at a sort of funeral, and the long part Second Selva (4-14) is finished.

And Galante, the victim of chapter 13, seems to be the hidden bride in chapter 10 (Fortuna in my counting, and the Center of the caos del laberintho), and appears really in chapter 11, AMORE DI TRIPERUNO E GALANTA.

So the Galanta is a rather intensive theme for some time, then killed by Grifalcone ... And Grifalcone, not speaking very much (dogs bark usually) is then honored for the Third Selva. But neither Federico Gonzaga or Camillo Orsini speak directly in the text, Grifalcone does.

Is there really an issue that Francesco Grifalcone was a real person?

The miniatore Benedetto Bordoni (14?-1539) mentions him in his first will, 1529 -

"Item, declaro quod habui a domino Francisco de Grifalconis ad bonum computum cujusdam quadri magni pro me fiendi ducatos quatuor."
http://www.archive.org/stream/bibliothq ... ch/bordono
(p. 299)

French translation -
http://books.google.fr/books?id=0CUUAAA ... ne&f=false

"And: I declare that I received from Mr. Francesco Grifalcone, in payment for a large painting that I have to do for him, the sum of four ducats."

Thanks, Ross.

Grifalcone's killing of Galanta remains something of a mystery, Mullaney admits in a note. On her reading of the works as sexual allegories, it becomes the killing of Folengo's physical sex instinct. Perhaps that happened under the patronage of Grifalcone. It also makes sense if another of his identities is as a falcon: falcons habitually kill small animals.

I have been researching "Cilla" further. The problem is that the Alexandra doesn't mention Cilla by name; it merely refers to a "heifer." The explanation that the heifer is Cilla occurs in a footnote. Did the Aldus edition of 1513 contain that particular footnote, or any mentioning Cilla in explanation of that line? The Loeb Library introduction doesn't say where the footnote came from. It just says that Ms. Marciana 476 (in Venice), the best manuscript copy, also contained the best ancient scholia. (It also says that Tzetza's commentary wasn't published until 1546, in Basel. That is too late for Folengo, of course.)

However my local college library also had Kinkel's edition (Leipzig 1880) of the Greek only. That edition (full title, Lycophronis Alexandra. recensuit scholia vetera codices Marciani addidit) contains both the Alexandra and the ancient scholia contained in ms. 476. The scholia are identified by what lines they explain in the Alexandra. The line with the heifer is 320. And in fact the scholia entry for "319 et seq." does appear to mention Cilla several places. Here is my scan of the entry (Kinkel p. 95):



In all likelihood, Kinkel used the Aldus as his primary source and added footnotes for variations among manuscripts. Here are his footnotes for that page.



So yes, "Cilla" remains a possible source for "Focilla"--although the Alexandra has a hard "c," kappa, where the Italian has a soft c. This would seem a minor point.

Grifalco seems to be an used family name, right.

His first appearance in the text at the end of chapter 13 seems to be arranged in comical intention. It is inside of one of the poems,which give a message with their starting letters.

EGNATIUS SQVARCIALUPUS FLORENTINUS DESTRUCTOR RELIGIONIS DIVI BENEDICTI LAVRE SIBI NOMEN VINICAVIT AT LARVAM ILLUM APPELLANDUM ESSE CENSEMUS
(according the offered translation: http://www.scribd.com/doc/50190814/Total-Chaos-Oct-2010
... The Florentine Ignatius Squarcialupi, destroyer of the religious order of St. Benedict, claimed the name Laura for himself, but we think he should be called Larva)

It happens inside the "CENSEMUS" ... Galanta the Weasel (or mouse) is dead, after Grifalco closed a door possibly too quickly:

Colui che l’hebbe in mano fu l’egregio,
Egregio mio Grifalco, il qual non hebbe,
Non ha, non havrà mai di sé più fido.
Strinse Galanta mia fra l’uscio e muro.
Ella morì chiamando: "Triperuno."
Ma ‘l giovene magnanimo e cortese
Volse che d’Alabastro un fino vaso
Sepolcro fusse a la gentil Mustella.

The one who had her in his hand was my distinguished Grifalco, who never had, does not have and never will have anyone more trustworthy than himself. He pressed my Galanta between the door and the wall. She died calling, “Triperuno!” But the noble and courteous young man wished a fine vase of alabaster would be the tomb for that gentle little mouse

Well, the scene has comic. At the funeral (or the tombstone) Grialco then opens the list of speakers:

We are compelled to mourn little Galanthis, for indeed,there was much virtue in her little body. For so long as the doorway was unable to crush her, she was alive who was a deer in her foot, a boar in her destructiveness, and a lion in her heart. But the Saturnian instead took revenge for her earlier offenses when, against [Hera’s] will, Galanthis liberated her mistress from her womb.

.. referring to the birth scene of Heracles, where Galanta the Weasel has a big role:

In Greek mythology, Galanthis (or Galinthias), daughter of Proetus, was the red-gold haired servant and playmate of Alcmene, who assisted her during the birth of Heracles. When Alcmene was in labor, she was having difficulty giving birth to a child so large. After seven days she called for assistance from Lucina, the goddess of childbirth (that is, the Greek Eileithyia). However, Lucina did not help her due to the wishes of Hera. Instead, she clasped her hands and crossed her legs, preventing the child from being born. Alcmene struggled in pain, cursed the heavens, and became close to death. Galanthis noticed Lucina and deduced Hera's plans. She told the goddess that the baby was born; this so startled her that she jumped up and unclasped her hands. This freed Alcmene, and she was able to give birth. Galanthis laughed and ridiculed Lucina, and as a punishment was turned into a weasel, an animal that in ancient times was believed to conceive through the ear and give birth through the mouth. She continued to live with Alcmene after her transformation. When Heracles grew up, he built a sanctuary to Galanthis and sacrificed to her; the practice of honoring Galanthis lasted down to late times.

Isn't "conceive through the ear and give birth through the mouse" a nice antique allegory for mouth-to-mouth propaganda ... for instance for the Baldo ... a nice antique allegory for the spread of advertisement of literature? Herakles is born, if you say "Herakles is born!"

Grifalco appears then between the mostly shorter funeral comments in the text of Isidore C., who composed a lamento of Juno:

[Juno speaking]
Oh, what have I done? At the same time that I had thought to have extinguished Galanta and to have plunged beneath the Lethean waves, while I prepare to forbid/prohibit on earth, a bold one occupies heaven and he may live far and wide now in celebrated poems of poets.

[Then the poet adds]

You give in to tears bewailing some foolish thing and lamenting a tender young pupil, Grifalco, and you can provide nothing more beneficial than this,[nothing] more important. Living acknowledged, she [Galantha] was scarcely hidden from you. May she now live with notable praise engaged in the service of eternal life: provided that she met death for you, she is released from death

And then Triperuno prays and the success and not-success of in the world literature is considered. And then the 2nd Selva ends. Ha ... a large step.

The 3rd Selva starts. The first chapter of this (in my counting Nr. 15, the Devil) is totally dominated by Francesco Grifalco ... but one shouldn't overlook: It is very short.

Grifalco gets his "FR. GR." ... and this places him between Federico Gonzaga and Camillo Orsini, in short "between the stars at heaven on earth" as Galantha got short before a place in the not dying stars.

Then he gets the Francesco Grifalcon poem, in which some letters form the name "Francesco Grifalcon".

Francesco Grifalcon poem Fortune, by rotating with her wide and swift gyrations, laughs in some people’s faces, and yet to others it always seems that she gets irate. I don’t know, my Grifalco, that I trust her. I see her -- that she strips the wings of many people and having pulled them from heaven to earth, crashes them together, as Boreas does to the cicadas. Why should I fear her, if I adore a God in heaven or honor a patron/Maecenas on earth

Here the Maecenas function is mentioned, which led likely partly to the conclusion, that Francesco Grifalcon is a Maecenas. But ... didn't we hear a few lines before, that Grifalco is a "tender young pupil" by Isodore C. ? Isn't this contradicting?

Then follows a sonnet, the poet stays unknown:

Now already I am popping out like a cemetery owl and beyond that sphere where rain descends and
lands on an occasional bird, I have given myself the feathers of a dove.

I will ascend so high, that the one who has a thirty year orbit will succumb to me and in the laurel Loggia where within itself a trine sun rests, let it be time that I recline at its banquet.

Here, not by way of enigma, not through the veil that Moses may have on his eyes, not by a handplaced at the opening of the ivory belly.

no longer at the back, but in plain sight, I will see what there is of His Highness, while one is tormented inside hell and laughs in heaven.

A cementary owl disguises as dove ... :-) ... I saw in my researches, that somebody made of the "30 year orbit" the wisdom, that the author was 30 years old, when he wrote this, however, with a little knowledge about astronomy one realizes that the planet Saturn is addressed (Saturn needs nearly 30 years to make a circle).

Then in big letters:

MAGNANIMUS TEMPLUM HOC MUSIS GRIFALCOLOCAVIT ... "Here the magnanimous Grifalco built a temple to the Muses"

And that's it with Grifalcon. No further note about him the text.

I see various possible explanations for Grifalcon, and Grifalcon as active ad living Maecenas is in my opinion a weaker solution, especially since it somehow contradict with the condition, that Grifalcon is described as rather young. A son of a Maecenas and pupil of Folengo as explanation makes more logic. Maybe also a darker mystery in Folengo's private life is possible, either in sexual activities or even as a hidden son of Folengo. It is possible, that Grifalcon also died. Or that Grifalcon and Galanthis are meant as one person.

The space-shuttle-journey to Saturn, where Grifalcon organizes a temple of the Muses reminds me of the Greek elysium as an alternative place for worthwhile heroes (which so could avoid dark Hades).

I found, that there is a special Latin bird name, falco pere grinus or falco peregrinus. This is a very famous folaga, cause he is considered the quickest bird of all. and he is able to attack crows, so a folaga might be in his reach. Though I don't know, if this quick bird is more specialized to capture birds in the air.

[youtube]http://www.youtube.com/watch?v=S2YLeQkPr0s[/youtube]

They even attack larger falcons, if these enter their territory.

[youtube]http://www.youtube.com/watch?v=Hpz66RYD ... re=related[/youtube]

There are various movies about it: http://www.youtube.com/results?search_q ... l1.6.1l8l0

The figure "Boccalo" in the Baldo is a combination of innkeeper (he's the cook) and Bagatello (he has a table and he demonstrates a game with balls).
Innkeeper and Bagatello are known names for the Tarocchi card of the Magician.

Mullaney translated this in chapter 13:





The following is a snippet, that I got from Mullaney's translation (maybe chapter 14 or 15):

"If Boccalo has no bass, let him scratch his ass." So saying, he returns to the table and grinds away like a millstone.
The others follow suit, for a portion awaits each of them.

I don't know the Italian or Latin text of this passage ... but recently I pointed to the possible relevance of Cuccù game in the interpretation of the Baldo, and the Cuccù game has as lowest card the "ass-scratcher".



The equivalent card in the Tarocchi series for the "ass-scratcher" would be the Magician, the Cuccù-"Matto" has the function of the Tarocchi-Matto and the highest Cuccù-card is the Cuccù itself (equivalent to card World). A further parallel between Cuccù and Tarot (better Minchiate) is the general scheme:

1 = Matto
2-5 = tend to be NULLA or of no worth (equivalent to Papi in the Minchiate)
6-15 = 10 numbers (equivalent to cards 6-15 in Minchiate)
16-20 = cards with figures and numbers 11-15 (equivalent to cards called Arie at the position 36-40 in Minchiate)

There's some indication (again), that Folengo knew the game Cuccù, but possibly not under this name, but another (as evidence for the name use is rather thin ... only Rabelais noted it). Interestingly Mullaney proceeds in her translation with "The others follow suit ..." (although the context is NOT card playing, but eating) ... it would be interesting to know which words are used in the original text, if the passage really indicates "card-playing-slang".

********

In a German book I found the opinion, that Boccalo in Venice means "Blütenknospe", in English "flower-bag". "Blütenknope" makes sense, if we understand the Tarocchi-series as a flower allegory, which naturally starts with a "Blütenknospe". In sexual association "Blütenknospe" possibly might relate to "asshole" (dark I remember something like this, the association naturally refers to the opportunities, when the asshole produces something; Cologne slang "du häs de fut am blühe (or kieme)" (fut = ass) in the meaning, that you in the moment makes only shit), which would make the jump to "ass-scratcher" plausible.

Adding to the text above ...
viewtopic.php?f=11&t=763&p=10933&hilit= ... nte#p10933...
... where I reflect the change from a "cemetary owl" to a dove in matters of the Grifalco research

Now already I am popping out like a cemetery owl and beyond that sphere where rain descends and
lands on an occasional bird, I have given myself the feathers of a dove.

I will ascend so high, that the one who has a thirty year orbit will succumb to me and in the laurel Loggia where within itself a trine sun rests, let it be time that I recline at its banquet.

Here, not by way of enigma, not through the veil that Moses may have on his eyes, not by a hand placed at the opening of the ivory belly.

no longer at the back, but in plain sight, I will see what there is of His Highness, while one is tormented inside hell and laughs in heaven.

A cementary owl disguises as dove ... :-)

In a not good reachable text "Proposal for an Allegorical Reading of Folengo's Baldus and Chaos del Triperuno"
by Ann Mullaney the author gives this statement:

"Nocturnal birds of prey were commonly associated with sodomites by writers of the era, as were blacksmiths, see the analyses by French scholar Jean Toscan, in his four-volume study, Le carnaval du langage [referring in a footnote to "Jean Toscan, Le carnaval du langage: le lexique erotique des poetes de l’equivoque de Burchiello a Marino (Lille: Presses Universitaires, 1981): Vulcan, pp. 609-11; smiths, p. 646; nocturnal birds of prey, pp. 1570-8.]

In the case, that this is reliable, the difficult interpretation of Francesco Grifalcon goes to the assumption of a homosexual escapade of the author, in which his sexual orientation towards sex with female partners (Galanthis) was altered to the other gender (with some help of Grifalcon).
This might have been a nice experience, and it dominates chapter Nr. 14 (my counting) with Galanthis' funeral, and chapter 15 (my counting; Nr 15, "devil" in Tarot) with a glorious Grifalcone, who builds a temple of the Muses in the Saturn sphere, however, in chapter Nr. 16 (Tower or Lightning in Tarot) there are greatest difficulties and life is more hell than anything else. Then - still inside Nr. 16 - a loud cry (like a LIGTHNING) starts some improvement of the situation.

A horrendous cry broke the deep sleep in which I had buried all the good that comes to us from the first heaven, such as that a lightning bolt makes in a big explosion. I open my eyelashes, and once I had removed somewhat the unwelcome veil from my senses, I stand up straight, watchful, and I see nothing because the world was still a place of shadows

It gets better then, and finally a son speaks to his father.

So one may conclude, that Folengo was smitten into deep religious conflicts cause of his "sodomy" with Grifalcon (a real name or a pseudonym or just a literary "figure") and Grifalcon appears in the story as a sweet devil (Nr. 15, my counting), with an own temple of the Muses in the Saturn spheres.